RASHID KHAN saw Sussex into the finals of English cricket's T20 Blast despite the turmoil in his native Afghanistan as his dashing innings capped a five-wicket win over Yorkshire on Tuesday (24).
After Luke Wright had made 54, Khan came in with south coast club Sussex needing 43 off 21 balls to reach a victory target of 178.
But the Afghanistan T20 captain, best known as a legspinner, unfurled his 'helicopter' shot as he struck three fours and two sixes to see Sussex home with an unbeaten 27 off just nine balls.
"I just needed to back my skills, and thanks to the coaching staff for sending me in a bit earlier to finish the game," said Khan after a match played at Durham because Yorkshire's Headingley headquarters is staging the third Test between England and India starting Wednesday (25).
Rashid, not available for finals day, added: "I tried my best to stay still and do the basics right. They bowled where I wanted it, and I finished it off well."
Khan's impressive all-round display came against the backdrop of thousands of people mobbing the airport in Kabul, the capital of Afghanistan, as they try to flee the Taliban's hardline brand of Islamist rule following the group's takeover of the country.
When the 22-year-old Khan was playing for Trent Rockets in English cricket's new Hundred competition last week, former England captain turned Sky Sports commentator Kevin Pietersen told Sky Sports: "We had a long chat here on the boundary talking about it and he's worried.
"He can't get his family out of Afghanistan and there's a lot of things happening for him."
Pietersen said at the time it was remarkable to see Khan perform as he did under the circumstances.
"For him to turn up and put on a performance like this under the pressure that he is currently under, for him to be able to forget that stuff and navigate his story and continue the momentum that he has - I think that's probably one of the most heart-warming stories of this Hundred so far."
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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